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BrainDead, can u help me figure this out? Re: Mixed Media on the Timeline…
Hi all, I am totally toast here, and need to figure out my next project:
I have official apple media files (Im a PC/Im a Mac). They are .mov files, looks like h.264 848×480, and I need to add to that to keynote or PP slide shows, and then at the end add some Motion animations. The end result will be played on large wide-screen HD LCD screens in an expo environment, presumably off Pal SD DVD players, as I don’t think we have many bluerays here yet…but we might, client will tell me soon…
So, what do I set my main timeline in FCP to kick things off? Do you think I should just rebuild the keynotes into Motion projects? Then I could just embed them on the timeline and not worry.
Pardon me if this thread is totally stupid…I need a vacation:)
JigsPhoenix Studios Nepal: A small A/V Production House in Kathmandu.
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6 Replies
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h.264 is a delivery codec not editing codec. ProRes, DV, HDV, DVCPro HD are editing codecs. There’s a start. You decide what your sequence setting should be.
Steve Eisen
Eisen Video Productions
Board of Directors
Chicago Final Cut Pro Users Group -
Hi steve, thx. took a nap. Understood about codecs. I am not editing the apple content, just creating new to tack on to the end. If I use any new footage, it would be pal SD DV (5:4) like I usually do, imported from an aging XL1s. I guess I would scale down the Apple content to fit. The Motion files would be set the sam. But what happens when it’s played on a 52″ LCD…that’s what I am worried about now. I can’t imagine it would look good, but I don’t have one to play with. One wrinkle is that the display will not only be SD DVD on wide screens, but also on new 27″ imac monitors. So I guess that’s two different outputs from the same timeline (I hope) using Compressor. I don’t know why all of a sudden I am obsessed with pre-project planning, as I usually just hack it all together and worry about getting it at the end. I guess I am just getting old…
JigsPhoenix Studios Nepal: A small A/V Production House in Kathmandu.
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I’d convert the h.264 to prores, and work in a DV timeline rendering as prores or a prores timeline. Don’t try and put the h.264 in your timeline. Just creates problems. 848×480 is pretty much NTSC SD 16:9 btw. NTSC DV being 720×480, but 16:9 equivalent is 853×480
You might want to work in an HD prores timeline just for the sake of it. If you get to go out blueray, at least some of your stuff will look sharp. And if you up rez the h.264s to HD prores in AE or Compressor they will look much better than FCP or the monitor doing the work. The monitor will up rez better than FCP will even.
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Bret, this is exactly what my dead brain needed. Perfect, now I have a plan! Cheers,
jigsPhoenix Studios Nepal: A small A/V Production House in Kathmandu.
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What framerate is the 848×480 stuff? There’s your problem! If it’s 24 I suppose you’d just conform to 25fps with cinema tools if you’re pal. If it’s 30, ugh.
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Yes, I noticed it was 24 (plays at 23.somethingish) so I would have never thought it was NTSC. Uh oh Cinema Tools…never used it, so I can change framerates with that? Cool. Will do that first then. Btw, u seem to be a pretty smart guy. Do you know what the canon frame mode is actually doing on the XL1s PAL. We always use it like that, as it’s just a Bcamera for music video shoots. It’s not slowing down the frame rate, is it? Cheers, and thx for the great support!
jigs
Ps. No problems yet! I am “pre-planning” and very proud of myself…
Phoenix Studios Nepal: A small A/V Production House in Kathmandu.
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